Goodman Gallery Cape Town is pleased to present, for our first show of 2014, an exhibition of new works by rosenclaire titled Colour Theory. The exhibition will feature a characteristic mix of collaborative and individual works by Claire Gavronsky and Rose Shakinovsky, presented in conversation.
The exhibition takes its title from a desire on the part of the artists to open up a discursive space between theoretical engagement and visceral response, between contemplation and surprise. Colour Theory can be understood in a social and political context, referring to racial categorisation and discrimination, as well as the ways in which we have been trained to “read” colour culturally. But colour, and our relationship with it, also exists in a place outside of these linguistic and cultural constructs. As the artists write: “Colour… has a voice and impact of its own, directly on the senses and emotions. It resonates in the silence when language reaches its limits, when words fail in the face of overwhelming joy, great suffering and pure aesthetic pleasure”.
Shakinovsky and Gavronsky work together and separately, but their artistic practice is symbiotic – the work, whether solo or collaborative, comes out of individual responses to the same stimuli, individual answers to the same questions. Often emerging from a pictorial dialogue, the content – or the question – dictates the shape and medium of the work, which ranges from unapologetically humble ready-made images to site specific installations. The ambivalent authorship of the works resulting from this dialogue – and their conversation, in turn, with the canon of art history – acts as a challenge to the notion of uniqueness and identifiable style as a signifier of artistic integrity.
Children feature prominently in many of Gavronsky’s paintings and drawings, acting alternately as a pair of naive and truthful eyes for the viewer to look through, and a source of mischief and daring, unhappy with the status quo and prepared to attempt the impossible. In Shakinovsky’s small abstract oils fashioned out of cut and bent canvas and paper, and other mixed media works, she is interested in shifting the viewer’s perspective – whether it be visually or conceptually – to notice or think something not thought a moment before. She often uses found quotidian objects and ready-made images, stripped of their original context and placed in unexpected relationships and combinations.
Rose Shakinovsky and Claire Gavronsky, collectively known as rosenclaire, were born in South Africa and now live and work between Florence, and Cape Town. They have exhibited extensively both in South Africa and abroad. Together they established and run a prestigious art residency program in Tuscany, and they regularly conduct artist workshops in the United States, Italy and South Africa. Colour Theory is their third solo exhibition with Goodman Gallery.
Immaterial Matters at Goodman Gallery Johannesburg will be rosenclaire’s first exhibition in the city since they left for Italy in 1985. The show is a remix of work from their re.collections show at Goodman Gallery Cape in 2010, work shown recently in Europe and new works created for this exhibition.
In 2010 rosenclaire’s neon sign Invest in the Immaterial illuminated Cape Town, Johannesburg and Dakar calling for action that was not an obsessive amassing of material gain and visibility, but rather a virtual rebalancing of the scales.
Immaterial Matters takes up from there referring to works that range from the irreverent to the transcendent. The title and the work proffer two ideas: one, that the immaterial is what matters and two it asks a question about relevancy.
The medium matters only as a transient messenger of meaning whether it be oil paint, bronze, found objects, games, video or scraps of paper. The work explicitly defies categorisation and sites itself neither on the page nor in the margins but rather questions the materiality of the paper itself. That which is material, the visual plane, is proportionately relevant to that which resonates from it. Thoughts and responses that in their own diverse trajectory move from the political, to tongue in cheek play and repartee with art history to places of quietness and contemplation.
The show features works that address the current economic meltdown and sideswipe at the contemporary art world and it’s stock market mentality. In their respective oil paintings and bronzes rosenclaire re-present canons of figurative and abstract modernist work in the context of providing a lintel over the Posts and a lookout point to the great beyond. Art addresses and undresses itself in both form and substance. Matter shifts, changes, mutates as time, desire and fashion dictate.
Antimatter is a dualistic hypothesis as is Anti-art that struggles to maintain a position of dissensus in the face of the rampant commodification of art. rosenclaire’s work presents an intimate interlocution between themselves and a viewer where stereotypes are challenged and new perspectives offered.
Artistic duo Rose Shakinovsky and Claire Gavronsky – collectively know as rosenclaire – were both born in South Africa and now live and work between Florence, Johannesburg and Cape Town. They left South Africa in 1985 for Italy, where they established a prestigious art residency programme in Tuscany. They have exhibited extensively both locally and internationally, and their work has featured at major events such as the Dakar Biennale and Spheres in France. Prominent public sculpture commissions include their Soap Boxes at the South African National Gallery in Cape Town. As well as conducting artist workshops in Italy and the United States, rosenclaire have returned regularly to South Africa to conduct workshops in Venda and Cape Town.
Goodman Gallery Cape proudly presents the first solo exhibition by rosenclaire in South Africa for over twenty years. Working under the name rosenclaire, Rose Shakinovsky and Claire Gavronsky present a conversation between their respective and collective practices and identities in re.collections.
The show’s title refers to a collection of arbitrary objects and thoughts waiting to be re-ordered, renamed and remembered: a heterogeneous gathering. Across-pollination between the flea-market, the studio, art history and personal experience, the show is a juxtaposition of painting, drawing, sculpture and installation. rosenclaire refer to their work as context-specific, governed by implicit signification where the subject matter defines the choice of media and stylistic convention.
re.collections, implies a reference to collections, collecting, correcting, naming, renaming and reframing cultural constructs of art and artifice. Here Gavronsky’s remake of Goya’s caprices, complimented by her large paintings and bronze sculptures tease and taunt our notions of art and marketing the mark. Shakinovsky’s museum sleuthing and Brechtian interruptions dissolve the boundaries and transgress the borders between art and non-art. A video by Shakinovsky from an ongoing series of illicitly filmed museum walks, and a sound piece by rosenclaire complete this intervention.
re.collections and its implications with regard to history and memory, both personal and political, are explored by Gavronsky, in a collapsing and enfolding of history, in which she presents Dante’s hell, side by side with the Beslan massacre of the innocents, in a series of large oil paintings.
Shakinovsky intervenes with discarded and decontextualized found objects, now re.collected and reconnected into a new syntax. Magnifying glasses scrutinize, focus, enlarge and force the viewer to recollect and reflect. Many works ask the viewer to engage in joining the dots, to become creative participants in the visual and conceptual games presented by the artists.
rosenclaire’s neon sign on the outside of the gallery asking the public to “invest in the immaterial” echoes other contemplative works situated in a quiet space in the gallery. Shakinovsky pays homage to both Rancière and Derrida. Among other works we find discarded protective cardboard corners from Gavronsky’s paintings, bronzed and repainted, and erasers carefully arranged and placed directly on the wall. The play between art and non-art, sense and non-sense is ultimately subverted again by the beauty and stillness of the works that is echoed in the pathos and empathy of Gavronsky’s elegy to her father.
Public Walkabout Saturday 20 February 2010 at 11am
Sphères 2009 Galleria Continua / Le Moulin
Joel Andrianomearisoa / Kader Attia / Willem Boshoff / Chris Burden / Angela de la Cruz / Carlos Garaicoa / Claire Gavronsky / Kendell Geers / Liam Gillick / Frances Goodman / Mark Handforth / Camille Henrot / Carsten Höller / Ann Veronica Janssens / Christoph Keller / Joseph Kosuth / Ange Leccia / Claude Lévêque / Pierre Malphettes / Thomas Mulcaire / Hans Op de Beeck / Nathaniel Rackowe Anselm Reyle / Ugo Rondinone / Bruno Serralongue / Rose Shakinovsky / Sudarshan Shetty / Nedko Solakov / Katja Strunz / Mikhael Subotzky / Sun Yuan & Peng Yu / Gavin Turk / Minnette Vari
Opening during the FIAC, Saturday, 24th of October 2009.
Preview from 12h00 – 14h30, brunch on the river bank.
For the second edition, the Spheres project re-involves the participation of several contemporary art galleries of international dimensions prompted by one desire: to join their diverse forces and energies to develop a shared exhibition – a new kind of exhibition experience – with no submission to any restricting theme. The Galleries will present artists from the five continents, whose works will be installed in and will relate to various parts of the exceptional complex. In doing so, they will engage with the rich history of the site.
24 October 2009 – 30 May 2010
AIR DE PARIS
ALMINE RECH GALLERY
Born in Johannesburg, South Africa in 1953. Lives and works in Florence, Italy
*indicates catalogue/ publication
2014 Colour Theory with Claire Gavronsky, Goodman Gallery, Cape Town, South Africa
2012 Immaterial Matterswith Claire Gavronsky, Goodman Gallery, Johannesburg, South Africa
2010 re.collections with Claire Gavronsky, Goodman Gallery, Cape Town, South Africa
1993 Infiltrare with Claire Gavronsky, Studio Levi, Florence, Italy
2016 New Revolutions: Goodman Gallery at 50, Goodman Gallery, Cape Town, South Africa
2012 _ Advance/Notice_, Goodman Gallery, Johannesburg, South Africa
2010 Dakar Biennale, Senegal
2010 Art 41 Basel, Goodman Gallery, Switzerland
2009-2010 Dystopia, Collaboration with William Kentridge, Pretoria, Johannesburg, South Africa 2009-2010 Dystopia, Ghent, Belgium
2009-2010 Spheres 2009, Gallery Continua/Goodman Gallery, Le Moulin, Paris, France
2009 Gesture with Claire Gavronsky, Goodman Gallery, Miami Basel, USA
2009 Swamp Eyes, Krut Projects, Implicit Art, New York, South Africa
2009 Sources: Contemporary Sculpture in the Landscape (Drive Game), Goodman Gallery, Nirox, Johannesburg, South Africa
2007 Domestic Departures, California State University, Los Angeles, USA
2006 William Kentridge In Collaboration, David Krut, Johannesburg, South Africa
2006 Works on Paper, Franchise Gallery, Johannesburg, South Africa
2006 Synergy, South African National Gallery, Cape Town, South Africa
2005 Soap Boxes, South African National Gallery, Cape Town, South Africa
2005 Subject to Change, South African National Gallery, Cape Town, South Africa
2005 David Exhibition, Legacy Group, Johannesburg, South Africa
2004 Decade of Democracy, South African National Gallery, Cape Town, South Africa
2003 Wulbari, En Plain Air, Arte Contemporanea, Torino, Italy
2003 Afritalia, FuoriLuogo, Chiesa San Bartolomeo, Campobasso, Molise, Italy (Representing South Africa)
2000 TransAfricana, Bologna, Italy (Representing South Africa)
1999 Progetto in Cubo, Florence, Italy
1996 Artists in Tuscany, Melbourne/Sydney, Australia
1995 La Città Ideale, Fiumara d’Arte di Antonio Presti, Sicily, Italy (Representing South Africa)
1994 X I T, South African Association of Arts, South Africa
1990 Summer Academy Show, Salzburg, Austria
1985 Women’s Art Festival, Market Gallery, Johannesburg, South Africa
1991-2010 Summer workshops for international students, with Claire Gavronsky, Tuscany, Italy
2005-2010 Workshops with Claire Gavronsky, San Francisco and New York, USA
1997-2010 Workshops in Cape Town, Johannesburg and Venda, South Africa
1986-2001 Art Institute of Florence / Lorenzo de Medici, Florence, Italy – Head of Departments: Contemporary and Modern Art History, Critical Theory, Feminism and Marginalization, Mixed Media, Painting and Drawing
1983-1985 Damelin College, South Africa – Head of Departments: Art, Audio-Visual
1983-1985 Damelin College, South Africa – Lecturer in Modern and Contemporary Art History, Painting, Drawing, Graphic Design
1982-1983 Damelin College, South Africa – Part-time lecturer in History of Art (Renaissance and Modernism)
1982-1983 Art Institute of South Africa – Professional Assistant to Esme Berman, public lectures on Art Appreciation
1982-1983 Schmerenbeck Center, University of the Witwatersrand, Johannesburg, South Africa – Workshops for Gifted Children
1982-1983 Schmerenbeck Center, University of the Witwatersrand, Johannesburg, South Africa – Lecturer “Education through Art”
1982-1983 Pace College Soweto, Johannesburg, South Africa – Creative workshop
1982-1983 Brescia House, Johannesburg, South Africa – Sets up Audio-visual department, teacher in painting, drawing and modern art history
1979-1981 Katlehong Art Center, Johannesburg, South Africa – Lecturer in painting, drawing, printmaking, ceramics, art appreciation and teacher training
1979-1980 Art Institute of South Africa – Public lectures in art appreciation and history of art, compilation of audio-visual programmes for art education
1975-1978 Brescia House, Johannesburg, South Africa – Head of Dept, Art, Lecturer in History of Art, Painting, Drawing and Graphic Design
2010 Between Pap and Polenta, Friends of Iziko, Cape Town, South Africa
2007 California State University, Los Angeles, USA – Public lecture for Domestic Departures
2005 South African National Gallery, Cape Town, South Africa – Public lecture on Soap Boxes
2002 Convegno Arte Africana Contemporanea, Bologna, Italy – Speaker
2000 @rtlink Convegno Internazionale, Bologna, Italy – Speaker
2008/2009 Nirox Foundation, Artist in Residence, Johannesburg, South Africa
2007 USC Grand Central, Artist in Residence with Rose Shakinovsky, USA
1970-1974 Johannesburg College of Art, South Africa – Printmaking, Painting
1970-1974 Johannesburg College of Art, South Africa – National Art Teaching Diploma
South African National Gallery, Iziko, Cape Town, South Africa – Speculum Veritatis After Duchamp
South African National Gallery, Iziko, Cape Town, South Africa – Commission for public sculpture
2009 Swamp Eyes, David Krut Projects, Implicit Art, NY/SA
2007 Domestic Departures: Essays, Amelia Jones and Tyler Stallings
2006 The David Exhibition, Johannesburg, South Africa
2004 A Decade of Democracy, Emma Bedford
2003 Afritalia, Fuori Luogo 8: Campo Basso, MA Schroth
2003 Wulbari, Torino Wences Rambia
2000 TransAfricana, Artisti Contemporanei, Renato Barilli and Gianni Baiocchi
1995 La Citta Ideale, Flumara d’Arte
Press for Rose Shakinovsky
Critical Interventions - Journal of African Art History and Visual Culture37435Newsbetweenpapandpolenta.pdf (1.6 MB)
Rosenclaire / Artthrob / March 2012Review by Michael Smith (140.6 KB)
Rosenclaire / Sunday Independent / 18 March 2012In defence of painting by Mary Corrigall (2.6 MB)
Rosenclaire / Mail & Guardian / 16 March 2012Mind over Matters by Matthew Partridge (1.3 MB)
Rosenclaire / The Courier / June 2010Rosenclaire Investing in the immaterial (1.5 MB)
Rosenclaire / Artthrob / February 2010Rosenclaire A Subtle Pairing by Andrew Lamprecht (559.4 KB)
Rosenclaire / CLASSICFEEL / April 2009A New Dimension (3.7 MB)
Rosenclaire / Sunday Times / April 2009Commodifying the countryside by Mary Corrigal (2.8 MB)
Rosenclaire / CLASSICFEEL / September 2009A perfomative monument by Lore Watterson and Lara Koseff (5 MB)